Inter-national and cross-cultural comparative studies in general and in education continue to confront a paradigmatic conundrum. That is, how is it possible to map out and render intelligible local-historical-cultural sensibilities as they are and in the English language, without getting bogged down to the indispensable yet insufficient globalized (Western) categories, frameworks, and a planetary (modern) conceptual-metaphysical way of reasoning? With China’s current educational discourses as its object of critique, this dissertation story-tells the author’s intellectual way – a journey, a method, and a daoist un-learning experience – that loosens up and turns around, if not beaks apart, such a conundrum, by strategically enacting an alternative research paradigm. This alternative research paradigm, drawing upon a post-modern, linguistic, cross-cultural, and historical mode of inquiry, intersects the domains of philosophy and praxis of education, narrative studies, discourse studies, and comparative studies. Through hermeneutically and evocatively dialoguing with both classical and modern texts, it not only cuts into the issues of educational language, body, and teacher-student difference in current China from a cross-cultural and historical perspective, but also envisions new gestures. This dissertation unpacks the author’s intellectual way along with her three serendipitous encounters, that can only be re-counted backwards, one intersecting with and building upon another: 1) A cross-cultural detour enables the author to encounter the Chinese ‘wind’ and ‘body’ as a culturally unique way of reasoning related to teaching, learning and teacher-student engagement; 2) Following the dancing ‘wind’ to ancient Chinese texts, say, Confucius’ commentary on the Yijing Guan-Hexagram, encounters her to a historical holistic mode of reasoning, which provides the author an alternative perspective to re-problematizing what she otherwise takes for granted as Chinese language, body, and teacher-student ordering; 3) This cross-cultural and historical detour furthermore un-learns the author’s habituated subject-vs.-object attitude toward language, body, and teacher-student difference as a specter of the modern conceptual-metaphysical mode of reasoning, gesturing toward an envisioning of a holistic co-dwelling between words and things, man and the world, teaching and learning, mind and body, and teachers and students.

Inter-national and cross-cultural comparative studies in general and in education continue to confront a paradigmatic conundrum. That is, how is it possible to map out and render intelligible local-historical-cultural sensibilities as they are and in the English language, without getting bogged down to the indispensable yet insufficient globalized (Western) categories, frameworks, and a planetary (modern) conceptual-metaphysical way of reasoning? With China's current educational discourses as its object of critique, this dissertation story-tells the author's intellectual way - a journey, a method, and a daoist un-learning experience - that loosens up and turns around, if not beaks apart, such a conundrum, by strategically enacting an alternative research paradigm. This alternative research paradigm, drawing upon a post-modern, linguistic, cross-cultural, and historical mode of inquiry, intersects the domains of philosophy and praxis of education, narrative studies, discourse studies, and comparative studies. Through hermeneutically and evocatively dialoguing with both classical and modern texts, it not only cuts into the issues of educational language, body, and teacher-student difference in current China from a cross-cultural and historical perspective, but also envisions new gestures. This dissertation unpacks the author's intellectual way along with her three serendipitous encounters, that can only be re-counted backwards, one intersecting with and building upon another: 1) A cross-cultural detour enables the author to encounter the Chinese 'wind' and 'body' as a culturally unique way of reasoning related to teaching, learning and teacher-student engagement; 2) Following the dancing 'wind' to ancient Chinese texts, say, Confucius' commentary on the Yijing Guan-Hexagram, encounters her to a historical holistic mode of reasoning, which provides the author an alternative perspective to re-problematizing what she otherwise takes for granted as Chinese language, body, and teacher-student ordering; 3) This cross-cultural and historical detour furthermore un-learns the author's habituated subject-vs.-object attitude toward language, body, and teacher-student difference as a specter of the modern conceptual-metaphysical mode of reasoning, gesturing toward an envisioning of a holistic co-dwelling between words and things, man and the world, teaching and learning, mind and body, and teachers and students.

With a focus on the role of discourse and language in education, this book examines China's educational reform from an original perspective that avoids mapping on Westernized educational sensibilities to a Chinese environment. Zhao untangles the tradition-modernity division expressed in China's educational language about the body and teacher-student difference. Exploring the historical and cultural implications of the ways China's schooling is talked about and acted upon, Zhao argues that Chinese notion "wind" (feng) is a defining aspect of Chinese teaching and learning. Incorporating Western and Chinese literature, this book explores the language of education, curriculum, and knowledge on a cross-cultural landscape and as cultural inscriptions.

In Corporeal Politics, leading international scholars investigate the development of dance as a deeply meaningful and complex cultural practice across time, placing special focus on the intertwining of East Asia dance and politics and the role of dance as a medium of transcultural interaction and communication across borders. Countering common narratives of dance history that emphasize the US and Europe as centers of origin and innovation, the expansive creativity of dance artists in East Asia asserts its importance as a site of critical theorization and reflection on global artistic developments in the performing arts. Through the lens of “corporeal politics”—the close attention to bodily acts in specific cultural contexts—each study in this book challenges existing dance and theater histories to re-investigate the performer's role in devising the politics and aesthetics of their performance, as well as the multidimensional impact of their lives and artistic works. Corporeal Politics addresses a wide range of performance styles and genres, including dances produced for the concert stage, as well as those presented in popular entertainments, private performance spaces, and street protests.

For some inexplicable reason, a modern university student, whose soul had been transported to the world of the 'Coiling Dragon', had replaced Linley as the main character of the 'Coiling Dragon' world. He also wanted to see how the main character would take advantage of his transmigration and walk step by step towards the peak of the strong. Although this book is the same person as "Pan Long", but it doesn't matter if you haven't read the original book, it won't affect your reading.

When the original owner was ten years old, he was pushed into the lake. The original owner was brought to his room by the third lady and beaten to death. The female owner crossed over to his room to accept his memories, adapt to his fate, and meet the male owner.

Xiao Yue and a few of her classmates went to the Di Dao Hall to celebrate their entrance exam. She didn't expect to be kidnapped by someone, and even had a kiss from a crazy person.If she was to be a queen, she didn't even have a door, but there were still windows. She would only return after playing for a year, but she had to sign a contract with him first. She could be a temporary actress for a year.Just like this, Xiao Yue signed the empress agreement with the Black Emperor's Imperial Palace and started her life of transmigration.

Far from being a melting pot, multi-racial Singapore prides itself on the richness of its ethnic communities and cultures. This volume provides an updated account of the heterogeneity within each of the main communities — the Chinese, Malay, Indian, Eurasian and Others. It also documents the ethnic cultures of these communities by discussing their histories, celebrations, cultural symbols, life cycle rituals, cultural icons and attempts to preserve culture. While chapters are written by scholars drawing insight from a variety of sources ranging from academic publications to discussions with community experts, it is written in an accessible way. This volume seeks to increase intercultural understanding through presenting ample insights into the cultural beliefs and practices of the different ethnic communities. While this book is about diversity, a closer examination of the peoples and cultures of Singapore demonstrates the many similarities communities share in this Singaporean space.

From prehistoric bone flutes to Confucian bell-sets, from ancient divination to his beloved qin, this book presents translations of thirteen seminal essays on musical subjects by Jao Tsung-i. In language as elegant and refined as the ancient texts he so admired, his journey takes readers through Buddhist incantation, the philosophy of musical instruments, acoustical numerology, lyric poetry, historical and sociological contexts, manuscript studies, dance choreography, repertoire formulation, and opera texts. His voice is authoritative and intimate, the expert crafting his arguments, both accessible and sophisticated, succinct and richly tapestried; and concealed within a deft modesty is a thinker privileging us with his most profound observation. The musician’s musician, the scholar’s scholar, bold yet cautious, flamboyant yet restrained, a man for all seasons, a harmoniousness of time and place.